Intellectual courage requires acting to promote epistemic goods despite significant risk of harm. Courage is distinguished from recklessness and cowardice because the expected epistemic benefit of a courageous action outweighs (in some sense) the threatened harm. Sometimes, however, inquirers pursue theories that are not best supported by their current evidence. For these inquirers, the expected epistemic benefit of their actions cannot be explained by appeal to their evidence alone. The probability of pursuing the true theory cannot contribute enough to (...) the expected epistemic benefit for the action to count as courageous rather than reckless. Thus, there must be some other epistemic consideration which favors their action, besides evidence for their theory. I argue that the proper account of intellectual courage requires recognition of inquisitive reasons: a distinct category of epistemic reasons which concern successful inquiry. This category includes reasons to think a theory itself is promising, e.g., that the theory suggests potentially fruitful new research. It also includes social epistemic reasons, e.g., that pursuing a theory will improve the distribution of cognitive labor. Inquisitive reasons help explain why researchers who pursue improbable theories count as intellectually courageous, rather than reckless. The expected epistemic benefit of an action is partially determined by the inquisitive reasons in its favor. On my account, intellectually courageous inquiry requires acting in a way that is sensitive to inquisitive reasons. (shrink)

The importance of the pure concepts of the understanding (i.e. the categories) within Kant’s system of philosophy is undeniable. As I hope to make clear in this essay, however, the categories are also an essential part of Kant’s critique of Christian Wolff. In particular, I argue that Kant’s development of the categories represents a decisive break with the Wolffian conception of the understanding and that this break is central to understanding the task of the Transcendental Analytic. This (...) break, however, is not merely that Kant affirms while Wolff and his followers deny a sharp distinction between sensibility and the understanding, which is the aspect of Kant’s rejection of Wolff that scholars most frequently note. Rather, this break concerns differences in their views about the understanding itself. For while Wolff conceives of the understanding as a mental capacity to extract and make distinct content already present in the senses, Kant conceives of the understanding in its “real use” as a capacity to produce purely intellectual content. (shrink)

Fichte assigns ‘intellectual intuition’ a new meaning after Kant. But in 1799, his doctrine of intellectual intuition is publicly deemed indefensible by Kant and nihilistic by Jacobi. I propose to defend Fichte’s doctrine against these charges, leaving aside whether it captures what he calls the ‘spirit’ of transcendental idealism. I do so by articulating three problems that motivate Fichte’s redirection of intellectual intuition from being to acting: (1) the regress problem, which states that reflecting on empirical facts (...) of consciousness leads only to further facts and so cannot yield a first principle; (2) the rhapsody problem, which states that the categories form a haphazard set and so lack necessity unless they derive from a first principle; and (3) the nihilism problem, which states that a first principle cannot lie outside our cognition of it, lest it be the cause of our cognition and, being first, the cause of all our actions, reducing us to machines. Crucially, Fichte’s three motivating problems are in fact aspects of a single problem. Leaving any aspect unsolved spoils putative solutions to the other two. Consequently, Fichte requires a single unified solution to all three, which his doctrine of intellectual intuition provides. (shrink)

In ‘Liberal individualism and Deleuzean Relationality,’ Clegg, Murphy, and Almack argue that the ability to choose has become something of a dogma in the management of intellectual disability, and one that sits badly with the heterogeneity of those with intellectual disabilities. They argue for a move away from choice as the primary ethical category to an ethics of relationality, following from the work of Deleuze and Guattari, to offer a more nuanced and stable form of care. In this (...) commentary, I set out the theoretical considerations that Deleuze and Guattari take to underlie such an ethics, and then briefly question the focus of their uptake of Deleuze and Guattari. Although Deleuze and Guattari may... (shrink)

Defenders of intellectual property rights argue that these rights are justified because creators and inventors deserve compensation for their labour, because their ideas and expressions are their personal property and because the total amount of creative work and innovation increases when inventors and creators have a prospect of generating high income through the exploitation of their monopoly rights. This view is not only widely accepted by the general public, but also enforced through a very effective international legal framework. And (...) it is endorsed by most academic researchers and commentators in this field. In this essay, I will show that the classical arguments for the justification of private intellectual property rights can be contested, and that there are many good reasons to abolish intellectual property rights completely in favour of an intellectual commons where every person is allowed to use every cultural expression and invention in whatever way he wishes. I will first give a short overview of the classical arguments for the justification of intellectual property as they are usually stated. We will then discuss the question of whether the creator or inventor deserves his de jure monopoly, by using John Christman’s categories of income and control rights to analyse property rights. The aim here is to show that it does not make sense to create control rights for abstract objects, as they are not scarce, and that there is no logical connection between the surplus which may be generated through income rights and the labour which has been put into a cultural artefact or an invention, and therefore it is not justified to grant monopoly rights on the basis of Lockean natural rights arguments for self-ownership and the just appropriation of worldly resources. As it is possible to reject Christman’s property rights categories, I will then go on to show on the basis of Richard Dawkins’ postulation of the ‘meme’ and Ludwik Fleck’s theory of the ‘thought collective’ that creative processes should be interpreted as interpersonal or collective processes, and therefore it is not justified to grant intellectual property rights to individuals on the basis of the idea that the individual who has put labour into the creative work or the invention should be the one to whom the contents of the work belong exclusively. As it is still possible to postulate the utilitarian argument that intellectual property rights are just because they increase the amount of creative works and inventions, I will argue in the last chapter that, from a libertarian as well as from an egalitarian point of view, the justification of intellectual monopoly rights on utilitarian grounds cannot be maintained. Therefore it is time to abolish the current global intellectual property law regime in favour of an intellectual commons for the good of all human beings and societies. (shrink)

In his essay against Eberhard, Kant denies that there are innate concepts. Several scholars take Kant’s statement at face value. They claim that Kant did not endorse concept innatism, that the categories are not innate concepts, and that Kant’s views on innateness are significantly different from Leibniz’s. This paper takes issue with those claims. It argues that Kant’s views on the origin of the intellectual concepts are remarkably similar to Leibniz’s. Given two widespread notions of innateness, the dispositional (...) notion and the input/output notion, intellectual concepts are innate for Kant no less than for Leibniz. (shrink)

Arguably one of the most fundamental phase shifts that occurred in the intellectual history of Western culture involved the ontological reduction of secondary qualities to primary qualities. To say the least, this reduction worked to undermine the foundations undergirding Aristotelian thought in support of a scientific view of the world based strictly on an examination of the real—primary— qualities of things. In this essay, I identify the so-called “Causal Argument” for a reductive view of secondary qualities and seek to (...) deflect this challenge by deriving some plausible consequences that support a non-reductive view of secondary qualities from an Aristotelian view (via the philosophical commentary of Thomas Aquinas). Specifically, my argument has two facets. First, I show that Aristotle’s view both implies recognition of the extramental existence of secondary qualities and is a prima facia natural view to take regarding the ontology of secondary qualities. Second, I show that the Causal Argument, which is thought to undermine a natural view of secondary qualities as real things, loses its bite when one examines perception in light the ontological relationship among the categories of quality, quantity and substance. (shrink)

I provide a critical commentary regarding the attitude of the logician and the philosopher towards the physicist and physics. The commentary is intended to showcase how a general change in attitude towards making scientific inquiries can be beneficial for science as a whole. However, such a change can come at the cost of looking beyond the categories of the disciplines of logic, philosophy and physics. It is through self-inquiry that such a change is possible, along with the realization of (...) the essence of the middle that is otherwise excluded by choice. The logician, who generally holds a reverential attitude towards the physicist, can then actively contribute to the betterment of physics by improving the language through which the physicist expresses his experience. The philosopher, who otherwise chooses to follow the advancement of physics and gets stuck in the trap of sophistication of language, can then be of guidance to the physicist on intellectual grounds by having the physicist’s experience himself. In course of this commentary, I provide a glimpse of how a truthful conversion of verbal statements to physico-mathematical expressions unravels the hitherto unrealized connection between Heisenberg uncertainty relation and Cauchy’s definition of derivative that is used in physics. The commentary can be an essential reading if the reader is willing to look beyond the categories of logic, philosophy and physics by being ‘nobody’. (shrink)

Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The (...) questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Heidegger’s latest work Contributions of Philosophy. Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the Park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their ↪Quart Nr 2(52)/2019 logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in Kant’s philosophy, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. (shrink)

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural objects (...) and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

The development of a professional identity is particularly interesting for those occupations that have a troubled emergence. The hinterland between science and technology accommodates many such ‘in-between’ subjects, which appear to have distinct attributes. Some of these specialisms disappear in the face of culturally stronger occupations. Others endure, their technical expertise becoming appropriated or mutated to serve the needs of different professional groups. This chapter is concerned with one extreme of these interstitial specialisms. Chemical engineering – a subject that by (...) its very name is between the science of chemistry and the technology of engineering – did eventually become a profession, in at least some countries. It had a relatively easy time becoming established in America in the first third of this century, but chemical engineering remained largely unrecognised in Germany until the 1960s, and has attracted a smaller professional community there. In Britain, the chemical engineering profession has evinced distinct transitions over a period of a century. It emerged to become an influential contributor to western economies and one of the ‘big four’ engineering professions (along with civil, mechanical and electrical engineering) after the second world war, due in large part to the unmindful aid of an influential, if capricious, sponsor: the state. Yet chemical engineers had a long and troubled history of contestation with other professions. Because of this, the British case is particularly appropriate for examining the continual re-casting of the professional identity in response to external and internal pressures. (shrink)

In this paper, I discuss the debate on Kant and nonconceptual content. Inspired by Kant’s account of the intimate relation between intuition and concepts, McDowell (1996) has forcefully argued that the relation between sensible content and concepts is such that sensible content does not severally contribute to cognition but always only in conjunction with concepts. This view is known as conceptualism. Recently, Kantians Robert Hanna and Lucy Allais, among others, have brought against this view the charge that it neglects the (...) possibility of the existence of essentially nonconceptual content that is not conceptualised or subject to conceptualisation. Their critique of McDowell amounts to nonconceptualism. However, both views, conceptualist and nonconceptualist, share the assumption that intuition is synthesised content in Kant’s sense. My interest is not in the validity of the philosophical positions of conceptualism or nonconceptualism per se. I am particularly interested in the extent to which the views that McDowell and Hanna and Allais respectively advance are true to Kant, or can validly be seen as Kantian positions. I argue that although McDowell is right that intuition is only epistemically relevant in conjunction with concepts, Hanna and Allais are right with regard to the existence of essentially nonconceptual content (intuitions) independently of the functions of the understanding, but that they are wrong with regard to non-conceptualised intuition being synthesised content in Kant’s sense. Kantian conceptualists (Bowman 2011; Griffith 2012; Gomes 2014) have responded to the recent nonconceptualist offensive, with reference to A89ff./B122ff. (§13)—which, confusingly, the nonconceptualists also cite as evidence for their contrary reading—by arguing that the nonconceptualist view conflicts with the central goal of the Transcendental Deduction, namely, to argue that all intuitions are subject to the categories. I contend that the conceptualist reading of A89ff./B122ff. is unfounded, but also that the nonconceptualists are wrong to believe that intuitions as such refer strictly to objects independently of the functions of the understanding, and that they are mistaken about the relation between figurative synthesis and intellectual synthesis. I argue that Kant is a conceptualist, albeit not in the sense that standard conceptualists assume. Perceptual knowledge is always judgemental, though without this resulting in the standard conceptualist claim that, necessarily, all intuitions or all perceptions per se stand under the categories (strong conceptualism). I endorse the nonconceptualist view that, for Kant, perception per se, i.e. any mere or ‘blind’ intuition of objects (i.e. objects as indeterminate appearances) short of perceptual knowledge, does not necessarily stand under the categories. Perception is not yet perceptual knowledge. In this context, I point out the common failure in the literature on the Transcendental Deduction, both of the conceptualist and nonconceptualist stripe, to take account of the modal nature of Kant’s argument for the relation between intuition and concept insofar as cognition should arise from it. (shrink)

‘Facticity’ is a concept that classical phenomenologists like Heidegger use to denote the radically contingent or underivably brute conditions of intelligibility. Yet Fichte coins the term, to which he gives the opposing use of denoting unacceptably brute conditions of intelligibility. For him, radical contingency is a problem to be solved by deriving such conditions from reason. Heidegger rejects Fichte's recoil from facticity with his hermeneutics of facticity, supplanting Fichte's metaphor of our always being in reason's hand with the metaphor of (...) our always having been thrown. How does Heidegger inherit and diametrically repurpose Fichte's neologism? Whence the reversed meaning of ‘facticity’ in post-Kantian thought? The answer is Lask's doctoral thesis, which exerts an acknowledged impact on Heidegger's habilitation thesis. Lask interprets ‘facticity’ as Fichte's term for the individuality problem, that is, the resistance of the material particularity of individuals to explanation by the categories genetically deduced from reason. On his interpretation, ‘facticity’ denotes radical contingency in the guise of haecceity, that is, the brute uniqueness of individuals. Lask credits Fichte with registering the problem of individuality, which highlights the world's irreducibly precategorial character. But how is ‘facticity’ transmitted from Lask to Heidegger, given their opposing interpretations of how Fichte understands its meaning? I argue that (1) Lask misreads Fichte as a proponent of facticity, that is, one whose accommodation of radical contingency deflates the Wissenschaftslehre's systematic ambitions, and (2) Lask's misreading, without deceiving Heidegger regarding the sincerity of Fichte's ambitions, encourages Heidegger's own hermeneutics of facticity. (shrink)

Which do we conceptualize like Human in opposition to non Human ? The institution of “large shares” or “The Great Divide”, in terms of categories between the Human one and the non Human one, is far from to be always established in various times and Human spaces, such as we generally think it. This apparently natural institution, even expresses, appears after examination much less obviates that we thought it traditionally. For this reason, it constitutes an object of intellectual (...) investigations of choice for many traditional knowledge such anthropology, the history, philosophy, theology, but also for the whole of contemporary sciences. Because, this category institution questions the identity even the EC what we indicate like human, and consequently, like non human. Indeed, about what and which precisely speak us when it is question of Human or the Human ones, about humanity in generic term? What do we seek to describe and qualify under the registers of Human and non Human? Which are the non Human, of the binarism category ones presupposed which institute the registers of conceptual dualism Human/humanity/inhumanity? What do we seek to think in the idea of one “beyond the human one”, which the latter institutes a differentialism between the beings or entities or contrary, seeks with the indifférencier as in certain news of anthropology who challenges any anthropocentrée & humanistic design? Most traditional definitions tend to affirm that this we claim to conceptualize & to subsume under the concept of “Human” constitutes something like a certain exception in the order of the alive one. What is it exactly of this alleged “human exception”? What does it recover precisely? In addition, to answer the interrogation: “That are the non Human ones and which is the human ones? ”, does not have anything manifesto apart from this we can crudely observe and who allows us to or not retain, more or less, certain features of appearance and the behavior. We could also answer in a provocative and relativistic way: “With each one its Human and its non Human, its humanity and its nonhumanity”, according to the configurations which we institute to return account of the whole of the interactions that we let us have or not with our multiple, material & immaterial, visible & invisible environments! There thus do not exist standards which would tend in manner more or less final and universal to govern the uses category of Human and of the Human one. For these reasons, the challenge of our short communication will be to expose presupposed and reasons of such an interest category, conceptual and descriptive fundamentally Human for the non Human one which gives an account of the multiple forms of the institution of human the versus the nonhuman one, while founding, in addition, a whole range of beings or of entities going from the one with the other, thus questioning the imaginary and real bases of our multidimensional assignments in category terms, of identity, anybody, cognitive faculties, various heritages, sensitivity, etc. (shrink)

The deduction of categories in the 1781 edition of the Critique of the Pure Reason (A Deduction) has “two sides”—the “objective deduction” and the “subjective deduction”. Kant seems ambivalent about the latter deduction. I treat it as a significant episode of Kant’s thinking about categories that extended from the early 1770s to around 1790. It contains his most detailed answer to the question about the origin of categories that he formulated in the 1772 letter to Marcus Herz. (...) The answer is that categories are generated a priori through a kind of intellectual “epigenesis”. This account leaves unexplained why precisely such and such categories should be generated. While this observation caused Kant to worry about the hypothetical status of the subjective deduction in 1781, he would come to acquiesce in the recognition that the ground of the possibility of categories is itself inscrutable. I call this his “methodological skepticism”. (shrink)

The concept of facticity denotes conditions of experience whose necessity is not logical yet whose contingency is not empirical. Although often associated with Heidegger, Fichte coins ‘facticity’ in his Berlin period to refer to the conclusion of Kant’s metaphysical deduction of the categories, which he argues leaves it a contingent matter that we have the conditions of experience that we do. Such rhapsodic or factical conditions, he argues, must follow necessarily, independent of empirical givenness, from the I through a (...) process of ‘genesis.’ I reconstruct Fichte’s argument by tracing the origin of his neologism, presenting his Jena critique of Kant’s rhapsodic appeal to the forms of judgment, and illustrating the Jena period’s continuity with the Berlin period’s genetic method, while noting a methodological shift whereby Fichte directs his critique against his own doctrine of intellectual intuition in order to eliminate its ‘factical terms.’. (shrink)

In accordance with the contemporary state of the natural sciences, Wolfgang Sohst here presents an extended ontological model where the process is the first cosmological category, not objects. Her starts with very few primordial categories of becoming that even precede the fundamental concepts of physics and mathematics. Since Democritus, ie. for about 2,400 years, all cultures of European descent rest mainly on the presupposition that substances and their properties provide the inventory of our world. This, however, contradicts the formerly (...) and still today lively intuition (intellectually up to Heraclitus, again in Aristotle and only then resurgent with Hegel) that objects are not the dominating aspect of what we are living in. Rather, the basis of our cosmos is a world process as the result of the complementary relationship of particular objects and their mutual efficiencies. (shrink)

Sara Suleri has written recently, in Meatless Days, of being treated as an "otherness machine"-and of being heartily sick of it.20 Perhaps the predicament of the postcolonial intellectual is simply that as intellectuals-a category instituted in black Africa by colonialism-we are, indeed, always at the risk of becoming otherness machines, with the manufacture of alterity as our principal role. Our only distinction in the world of texts to which we are latecomers is that we can mediate it to our (...) fellows. This is especially true when postcolonial meets postmodern; for what the postmodern reader seems to demand of Africa is all too close to what modernism-in the form of the postimpressionists-demanded of it. The role that Africa, like the rest of the Third World, plays for Euro-American postmodernism-like its better-documented significance for modernist art-must be distinguished from the role postmodernism might play in the Third World; what that might be it is, I think, too early to tell. What happens will happen not because we pronounce on the matter in theory, but will happen out of the changing everyday practices of African cultural life.For all the while, in Africa's cultures, there are those who will not see themselves as Other. Despite the overwhelming reality of economic decline; despite unimaginable poverty; despite wars, malnutrition, disease, and political instability, African cultural productivity grows apace: popular literatures, oral narrative and poetry, dance, drama, music, and visual art all thrive. The contemporary cultural production of many African societies, and the many traditions whose evidences so vigorously remain, is an antidote to the dark vision of the postcolonial novelist. 20. Sara Suleri, Meatless Days , p. 105. Kwame Anthony Appiah, professor of philosophy and literature at Duke University, is the author of a number of books, including For Truth in Semantics , Necessary Questions , and In My Father's House , a collection of essays on African cultural politics. His first novel, Avenging Angel, was published in 1990. (shrink)

The starting point of this paper are two views: on the one hand, two general claims about street art – a broad art category encompassing works of spray painting as well as of yarn bombing, paste ups as well as sculptural interventions, tags as well as stickers, and so on – and, on the other hand, a much more specific view about certain contemporary tags produced, roughly, over the past twenty years. The two general claims are, first, that all works (...) of street art are subversive (see, e.g., Bacharach 2015; 2018; Chackal 2016; Baldini 2015; 2016; 2017; 2018; Willard 2016), second, that works of street art are the result of acts of self-expression (Riggle 2016). The specific view about certain contemporary tags is that they are artworks, although they are not presented, mainly, for appreciation of aesthetic properties grounded in their perceptual properties, because they are works of conceptual street art (see Lewisohn 2010; JAK 2012). The key question of the paper concerns, however, not contemporary tags, but “very early tags” (VETs) – a term that I shall use to designate the extremely simple, unadorned tags that first appeared in the late 1960s and that some scholars consider as the historical predecessors of the various practices that today we group under the category “street art” (see, e.g., Young 2014; Gastman et al. 2015): should we regard VETs as artworks? On the one hand, VETs writers tend to answer this question in the negative, since they stress that they didn’t cast themselves as artists and often identify the first tags that are artworks with the graphically elaborated tags that begun to be seen around New York City and Philadelphia just a few years after the appearance of the first tags. On the other hand, already in the early 1970s, artists and intellectuals such as Norman Mailer and Gordon Matta-Clark seemed to hold the view that it was appropriate to regard both VETs and later tags as art, although they didn’t defend this thesis with argument. The view that some contemporary tags that are not presented, mainly, for appreciation of their aesthetic properties might be candidates for appreciation as works of conceptual art suggests a strategy for assessing the issue whether VETs are candidates for art appreciation: can we defend the claim that the extremely simple, unadorned VETs were presented for appreciation as works of conceptual street art? I argue that we have good reasons to hold this view. (shrink)

Does AI conform to humans, or will we conform to AI? An ethical evaluation of AI-intensive companies will allow investors to knowledgeably participate in the decision. The evaluation is built from nine performance indicators that can be analyzed and scored to reflect a technology’s human-centering. When summed, the scores convert into objective investment guidance. The strategy of incorporating ethics into financial decisions will be recognizable to participants in environmental, social, and governance investing, however, this paper argues that conventional ESG frameworks (...) are inadequate for AI-intensive companies. To fully account for contemporary technology, the following categories of evaluation will be developed and featured as vital investing criteria: autonomy, dignity, privacy, performance. With these priorities established, the larger goal is a model for humanitarian investing in AI-intensive companies that is intellectually robust, manageable for analysts, useful for portfolio managers, and credible for investors. (shrink)

In his 2009 encyclical letter Caritas in Veritate, Pope Benedict XVI calls for a deeper, theological and metaphysical evaluation of the category of “relation” to achieve a proper understanding of the human being’s “transcendent dignity.” For some contemporary thinkers, this position might seem to be hopelessly paradoxical or even incoherent. After all, many contemporary thinkers are apt to believe that the human creature can have “transcendent dignity” only if the being and goodness of the human creature is not conditioned by (...) or dependent upon any relation or relatedness to anything else, including the natural environment. This chapter seeks to show that apparent paradoxes in Benedict XVI’s statement will begin to disappear if one resists the rather understandable temptation to interpret his thought by relying on presuppositions borrowed from contemporary ethical theories. More specifically, this chapter aims to show that Benedict XVI’s teachings— embedded as they are within a rich tradition of Catholic “natural law” thinking—are importantly distinguishable from contemporary utilitarian and deontological views. Furthermore, this chapter seeks to demonstrate that Benedict XVI’s “natural law” account offers an intellectually defensible alternative to contemporary modes of environmental thinking. (shrink)

Expertise is traditionally classified into perceptual, cognitive, and motor forms. I argue that the empirical research literature on expertise gives us compelling reasons to reject this traditional classification and accept an alternative. According to the alternative I support there is expertise in forming impressions, which further divides into expertise in forming sensory and intellectual impressions, and there is expertise in performing actions, which further divides into expertise in performing mental and bodily actions. The traditional category of cognitive expertise splits (...) into two--expertise in forming intellectual impressions and expertise in performing mental actions. I consider and address a challenge to my case in favor of adopting this alternative classification of expertise that derives from dual process theories of cognition. (shrink)

:Recently, Allais, Hanna and others have argued that Kant is a nonconceptualist about intuition and that intuitions refer objectively, independently of the functions of the understanding. Kantian conceptualists have responded, which the nonconceptualists also cite as textual evidence for their reading) that this view conflicts with the central goal of Kant’s Transcendental Deduction: to argue that all intuitions are subject to the categories. I argue that the conceptualist reading of KrV, A 89 ff./B 122 ff. is unfounded. Further, I (...) argue that the nonconceptualists are wrong to believe that intuitions as such refer objectively and that they are mistaken about the relation between figurative synthesis and intellectual synthesis. (shrink)

To talk about ethics and the moral life in India, and whether and when Indians misunderstood each other’s views, we must know something about what Indians thought about ethical and moral issues. However, there is a commonly held view among scholars of Indian thought that Indians, and especially their intellectuals, were not really interested in ethical matters (Matilal 1989, 5; Raju 1967, 27; Devaraja 1962, v-vi; Deutsch 1969, 99). This view is false and strange. Understanding how it is that posterity (...) has managed to misunderstand ethics and the moral life in India so profoundly is not something that we can address without thinking about issues pertaining to scholarship, interpretation and translation. Most importantly, studying a culture demands a philosophical engagement with the categories against which one attempts to understand it. If one believes, as many scholars do, that it is a rigorous study of Sanskrit and other classical Indian languages alone that holds the key to understanding classical India, then there is apparently neither need nor room for such reflection. It is this very same failure to engage philosophically with the category of the ethical and its place in translation that has allowed many modern Indians to misunderstand Indians of yore. (This is a paper I wrote in 2008 for an edited volume by Jyotirmaya Sharma for Penguin India, which unfortunately did not come to fruition. Since then, a lot has changed with respect to Sharma’s relationship to Penguin India, so perhaps this was all just prescient karma. I have circulated it with friends, who want to refer to it, so I thought I would upload it. Please refer to it as an online source: PhilPapers being the placed published. SR). (shrink)

(First paragraphs.) The idea that our language somehow influences our thought can be found in philosophical and scientific traditions of different continents and with different roots and objectives. Yet, beyond the mere theoretical, explorations of the idea are relatively scarce, and are mostly limited to relations between very concrete conceptual categories and subjective experiencing and remembering – to some kind of ‘psychologies of folk-ontology’. Thought as process, reasoning or ‘thinking’, and the role of more complex or abstract concepts in (...) (such) thought tend to be mostly ignored in psychology and philosophy. Conceptual and intellectual history, on the other hand, cannot be accused of such neglect, but the common lack of a comparative perspective in those fields precludes any generalized inference. Furthermore, while a comparative study on the role of complex or abstract concepts in thought as process and its products (the aggregate ‘thought’ of schools, ages, and regions) could result in a considerable enrichment of our understanding of the relationships between language and thought, it would not necessarily be recognized as such because of a fundamental difference in the nature of the concepts involved, affecting the boundary of ‘language’ in the pair ‘language and thought’. More concretely, while the concepts of the ‘psychologies of folk-ontology’ are rather concrete categories of ‘things’ or aspects of experienced reality (hence, ‘folk-ontology’), the abstract concepts of (comparative) conceptual history, such as ‘society’ or ‘reason’, are categories of ideas. Consequently, conceptual history is inseparably tied to the history of ideas, and there is no strict boundary line between concepts, theories, ideas, and aggregate thought in general. It could, therefore, be argued that a comparative conceptual history would be a study of the influence of ideas on thought, rather than of language on thought. That argument, however, would either void language of content, or make the dubious claim that folk-ontology is a fundamentally different type of content than theoretical content. The ‘psychologies of folk-ontology’ study the influence of folk-ontological categories on folk-ontological thought (experiencing and remembering), and a comparative conceptual history would study the influence of theoretical categories (or conceptualized ideas) on theoretical thought (thinking, reasoning, etc.), and there does not seem to be a good reason to exclude either type of categories from ‘language’. Perhaps it should be argued instead that the ambiguous term ‘language’ in the pair ‘language and thought’ would better be replaced with ‘concepts’ or ‘categories’. (shrink)

Intersectionality is a term that arose within the black feminist intellectual tradition for the purposes of identifying interlocking systems of oppression. As a descriptive term, it refers to the ways human identity is shaped by multiple social vectors and overlapping identity categories (such as sex, race, class) that may not be readily visible in single-axis formulations of identity, but which are taken to be integral to robustly capture the multifaceted nature of human experience. As a diagnostic term, it (...) captures the confluence of power and domination on the social construction of identity in order to remedy concrete harms that result from this convergence. It is not a prescriptive methodology or closed system of analysis, but rather an open-ended hermeneutic lens through which interconnected systems of oppression can come into focus in the fight for social justice. (shrink)

This issue of The Monist is devoted to the metaphysics of lesser kinds, which is to say those kinds of entity that are not generally recognized as occupying a prominent position in the categorial structure of the world. Why bother? We offer two sorts of reason. The first is methodological. In mathematics, it is common practice to study certain functions (for instance) by considering limit cases: What if x = 0? What if x is larger than any assigned value? Physics, (...) too, often studies the (idealized) initial and boundary conditions of a given system: What would happen in the case of a perfect sphere, or a perfectly black body? In the cognitive sciences, research often thrives on the analysis of cognitive errors, perceptual illusions, brain pathologies. Also in logic one can learn a lot by studying special, anomalous scenarios such as those exhibited by the paradoxes: it is unlikely that we actually find ourselves in a soritical context, or in a liar-like situation, but the fact that we might—or simply the fact that we can conceive of such a possibility—is important enough to deserve careful consideration. In short, the odd, the unfamiliar, the extra-ordinary, the limit cases are perfectly at home in scientific and more broadly intellectual discourse at various levels, where they can be fruitfully engaged in a sophisticated way (witness the existence of specific confining and managing strategies for dealing with them); and they are important precisely because they instruct us concerning the normal, the obvious, and the paradigmatic. The same goes for metaphysics, we submit. Although its major concern is, naturally, with such core entities as substances, properties, or hunks of solid matter, a lot may be learned by paying attention to those limit cases where we find ourselves dealing with entities of much lesser kinds, whether real or putative. (shrink)

The appearance of openly accessible Artificial Intelligence Applications such as Large Language Models, nowadays capable of almost human-level performances in complex reasoning tasks had a tremendous impact on public opinion. Are we going to be "replaced" by the machines? Or - even worse - "ruled" by them? The behavior of these systems is so advanced they might almost appear "alive" to end users, and there have been claims about these programs being "sentient". Since many of our relationships of power and (...) social dominance are apparently based on intelligence, where the "smarter" seems to prevail on the "dumber" (as we see for example with livestock farming, or with the distribution of salaries according to formal and intellectual qualifications etc.) the emergence of programs and AI applications of this level of sophistication brings us to the question "what will AI do to us?". Our error is to frame Artificial Intelligence in the same way we frame Natural Intelligence and mistakenly address it as we would do with biological life, even applying to it the same biopolitical categories. We here try to reverse the common arguments in relationship between life and intelligence and show that our progresses in Artificial Intelligence might have no immediate consequence for the topic of life as such, as life and intelligence are well separated issues, and - even when we would like to somehow fuse them together, we are very far away from having an "Artificial Life" to the degree of complexity and effectiveness we have with "Artificial Intelligence". (shrink)

This chapter poses questions about the existence and character of the Scientific Revolution by deriving its initial categories of analysis and its initial understanding of the intellectual scene from the writings of the seventeenth century, and by following the evolution of these initial categories in succeeding centuries. This project fits the theme of cross cultural transmission and appropriation -- a theme of the present volume -- if one takes the notion of a culture broadly, so that, say, (...) seventeenth and eighteenth or nineteenth century European intellectual cultures are deemed sufficiently distinct that one can speak of the "transmission" of texts and ideas from the one to the other as cross cultural. I maintain that a process of transforming and assimilating seventeenth century achievements manifests itself in two distinct cultures of interpretation, one developed by historians of philosophy, the other by scientists and historians of science. The first, following actor's categories, interprets the revolution in the seventeenth century as a philosophical displacement, partly fomented by a radical change in astronomical theory; the second, retrospectively applying the post nineteenth century sense of the term "science" to seventeenth century events, finds a "scientific" revolution, or the birth of modern science. The chapter proposes interpreting the Scientific Revolution as a revolution in natural philosophy and metaphysics. (shrink)

Standard methods for teaching Deliberative Democratic Theory (DDT) in the philosophy classroom include presenting theories in the historical order in which they originated, by theorist (or groups of theorists) or in various thematic categories, including criticisms of the theories. However, if Simone Chambers is correct and DDT has truly entered “a working theory stage,” whereby the theory and practice of deliberation receive equal consideration, then such approaches may no longer be appropriate for teaching DDT. I propose that DDT be (...) taught using the Critical Friends (CF) discussion protocol. This protocol enables high quality deliberation in the context of a supportive intellectual community. The key advantage of my proposal is that the CF pedagogical framework empowers students to conceive DDT through the lens of their own and others’ deliberative practices. By referring to a rather than the strategy, this proposal does not specify the single right way to teach DDT, but suggests one among a field of possibilities. (shrink)

Talk at University of Turin, 'Kant, oltre Kant, May 5th 2023. --- -/- It is useful, while keeping in mind a holistic approach, to concentrate on a common theme in Kant’s text, which it will turn out is the quintessential element of his novel ‘way of thinking’, as he himself put it in preface of the second edition of the Critique of Pure Reason. This common theme is the idea of synthesis, which is what holds together, and is the entryway (...) to, all the other familiar aspects of Kant’s thought: his concept of self-consciousness or how mind is involved in cognition, his ideas about the role of the imagination, his theory of knowledge and his metaphysics of experience, and not unimportantly, its relation to what is probably the most Kantian element here: the categories of the understanding as the first principles of knowledge. But the meaning of synthesis and its role in its various facets, though frequently the subject of discussion in papers and monographs alike, is hardly understood in contemporary Kant scholarship. Most readings of the text of the Deduction, the part in which Kant elucidates his concept of synthesis, exhibit a shallow, mechanical understanding of it. -/- A compounding factor is that synthesis can’t really be understood independently of the other aforementioned elements of Kant’s thought. Grasping the meaning of synthesis implies coming to grips with his concept of self-consciousness and the way both self-consciousness and the categories are intricately and intimately involved. Most interpretations consider these aspects too much as if they were indeed separable faculties or entities that serve separable functions, undercutting an important feature of Kant’s metaphysics: the possibility of a priori unified cognition, for which an indivisible self-legislating subject is responsible. Rather, they are expressions of various aspects of a singular function of the mind as the ground of possible unified knowledge. -/- One striking example of such a superficial reading of the text is the way the relation between figurative synthesis and intellectual synthesis—or in the case of the A-Deduction the threefold synthesis—is standardly interpreted, as if the two are independent or quasi-independent functions of different faculties of the mind, the imagination and the understanding. In this paper, I focus on the relation between figurative and intellectual synthesis, while arguing that failing to understand this properly, indeed the relation between the imagination and the understanding, leads to a vicious regress in the explanation of the ground of knowledge, for which a priori synthesis is specifically designed. In other words, failing to see the intimate relation between the imagination and the understanding, the very identity that lies at their root, risks losing sight of the primary aim of Kant’s thought: the possibility of a priori unified knowledge. (shrink)

American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni Riefenstahl. (...) Now most critics admit that, in the end, the film claims to denounce racism and attempts to show us the conversion of the protagonist to the path of righteousness, but they complain that nonetheless the film (perhaps unintentionally) ends up implicitly promoting the immoral worldview it rather superficially professes to reject in its final act. This charge of hypocrisy is connected to another worry: the moral conversion in the film is said to fall flat because the intellectual resources on display to support the character’s racism are not counterbalanced by equally explicit (but superior) arguments for the anti-racist position ultimately embraced by the character. In other words, just as the devil is said to get all the good lines in Milton’s Paradise Lost, in AHX the racists get all the arguments. This has been taken to be a morally problematic flaw of the film. Critics lament that Derek’s conversion seems to result not from relevant logical inferences and valid rational argumentation but from overly simplistic and arguably egoistic insights (e.g., “has anything you've done made your life better?”) combined, perhaps, with a hackneyed cliché (in prison, one of his best friends is a black person!) In this paper I’ll attempt to rebut these charges and defend the film as a powerful, and powerfully moral, work of art. I’ll be suggesting that the seductive techniques employed allow for many viewers a degree of sympathy towards the protagonist that is crucial, both for making that character’s more horrific actions especially unsettling, and also for making his eventual conversion plausible and ultimately compelling. I’ll also argue that the manner in which his conversion is presented is in fact subtler than many critics have allowed: Derek’s transformation is not artificial or implausible but is depicted as resulting from a cumulative series of emotionally powerful life events and personal engagements. It is certainly true that it is not represented in the way some would seemingly have preferred, i.e. as straightforwardly resulting from a process of gradual intellectual improvement in Derek’s reasoning on questions of race and politics. However, I’ll argue that the decidedly emotional basis of his moral evolution is both refreshingly realistic and no hindrance to accepting his conversion as rational. Finally, properly understanding the legitimacy of the emotional foundations of much moral thought will also allow us to appreciate the ways in which our initial worries about this film’s (not insignificant) ability to persuade viewers through the engagement of emotions need not, in itself, be seen as a barrier to endorsing the film as a morally praiseworthy work. (shrink)

Revolutionary Gnosticism is a religious–philo- sophical category introduced in the academic debate by the philosopher Eric Voegelin (1901–1985). Starting from his important work, several philosophers and sociologists have adopted Gnosticism as a useful explanatory notion to frame and define numerous modern and contemporary political and cultural movements. The immanentization of the eschaton, which is a renowned Voegelian expression, intimately defines the politico–cultural project of revolutionary Gnosticism. The destruction of the past for the creation of a new world, the last aeon, (...) demarcates the vision of history of revolutionary Gnosticism. Hence, according to a similar Weltanschauung, man replaces God, giving birth to «the idea of a transfiguration of mankind through a process of auto–redemption (grace replaced by revolution)» (Augusto Del Noce). The paper aims to investigate in broad terms the vast time span in which the concept of rev- olutionary Gnosticism has taken shape, from ancient Gnosis to Late Middle Ages, through seventeenth century Puritanism and Jacobinism, until twentieth–century totalitarianisms, eventually suggesting further lines of research. The present study intends to suggest a new interpretation for politico–revolutionary phenomena that have emerged in the whole West and in all epochs, with the purpose of finding a recurrent pattern that reflects one of the most disruptive intellectual engine for radical politics. (shrink)

Public discussions of ethical issues related to the biotechnology industry tend to treat "biotechnology" as a single, undifferentiated technology. Similarly, the pros and cons associated with this entire sector tend to get lumped together, such that individuals and groups often situate themselves as either "pro-" or "anti-" biotechnology as a whole. But different biotechnologies and their particular application context pose very different challenges for ethical corporate decision-making. Even within a single product category, different specialty products can pose strikingly different ethical (...) challenges. In this paper, we focus on the single over-arching category of "genetic testing" and compare tests for disease susceptibility and drug response. We highlight the diversity of ethical challenges - grouped under the broad categories of "truth in advertising" and "protecting intellectual property" - raised by the commercialization and marketing of these technologies. By examining social and technical differences between genetic tests, and the associated corporate ethics challenges posed by their commercialization, our intent is to contribute to the nascent business ethics literature examining issues raised by the development and marketing of genetic tests. (shrink)

研究早期中国哲学的学者均普遍认为，缺乏作者和思想学 派的资料，对以哲学为本的研究非常不利。就着这个观点，本文提出异议: 汉学研究所提供的文献、文学、语言、历史的知识，可融贯于早期中国哲学 的研究，并产生良好的影响。蒋韬在 2016 年提出了“汉学挑战”的论述。就此，本文论证，汉学正好 提供一个机会，结合不同的研究方法及角度，从而更有效地处理具体的哲 学议题。我以自己对“命”的研究为例，解释如何以多个文本为基础，梳理 哲学问题，做“没有作者的哲学”，并显示:融贯汉学研究所提供的各种方 法、知识、研究工具，不仅无损哲学研究，更为其注入新气象。我采取了“后学科”的研究角度:受到前学科文化(例如早期中国文 化)的启发，“后学科”的角度在提问时，往往从整体出发，不囿于各个学科 的既定模式和分类;并开辟新路向，容纳创意，追寻意义，以产生可行的新 联系。 Some scholars of early Chinese philosophy see the knowledge provided by Sinology as a challenge to the development of sound philosophical enquiry. What Sinology tells us about the historical context and the textual, material, and intellectual culture of the period is considered detrimental for engaging in philosophical research, reason why these scholars believe that Chinese philosophy must separate itself from Sinology. I argue that Sinology does not (...) offer a challenge but an opportunity to engage with a multitude of approaches and methods to more efficiently address philosophical problems and questions. I offer my own research as an example of how to integrate the knowledge and analytical tools offered by Sinology in a philosophical study of early China. Focusing on the most crucial Sinological challenge--the challenge to the notions of “book” and “author"--I show that using the methods and knowledge provided by other disciplines does not jeopardize but, much to the contrary, invigorates and revitalizes philosophical research. My perspective is post-disciplinary: inspired by pre-disciplinary cultures such as early China, post-disciplinarity engages inquiry holistically, suspending the patterns and categories established by discrete disciplines, forging new paths for creativity and the search of meaning, and allowing new viable connections to emerge. (shrink)

It is of course essential to disclose passively accepted beliefs that inhabit and shape the roots and edges of American philosophy if the scope of our tradition is to continue to evolve to meet situations that seldom fit neatly into inherited categories. Our dialogue with Roger Fouts is an occasion for supplementing and correcting uncritical perpetuation of narrowly (vs. broadly) humanistic intellectual habits. His lecture is also an occasion for confronting complex issues of how best to comport ourselves (...) toward other species. With notable exceptions such as McKenna and Light’s Animal Pragmatism and the work of Paul Thompson, scholars working in the American grain have taken a back seat to utilitarian .. (shrink)

Frederick Douglass, the abolitionist, the civil rights advocate and the great rhetorician, has been the focus of much academic research. Only more recently is Douglass work on aesthetics beginning to receive its due, and even then its philosophical scope is rarely appreciated. Douglass’ aesthetic interest was notably not so much in art itself, but in understanding aesthetic presentation as an epistemological and psychological aspect of the human condition and thereby as a social and political tool. He was fascinated by the (...) power of images, and took particular interest in the emerging technologies of photography. He often returned to the themes of art, pictures and aesthetic perception in his speeches. He saw himself, also after the end of slavery, as first and foremost a human rights advocate, and he suggests that his work and thoughts as a public intellectual always in some way related to this end. In this regard, his interest in the power of photographic images to impact the human soul was a lifelong concern. His reflections accordingly center on the psychological and political potentials of images and the relationship between art, culture, and human dignity. In this chapter we discuss Douglass views and practical use of photography and other forms of imagery, and tease out his view about their transformational potential particularly in respect to combating racist attitudes. We propose that his views and actions suggest that he intuitively if not explicitly anticipated many later philosophical, pragmatist and ecological insights regarding the generative habits of mind and affordance perception : I.e. that we perceive the world through our values and habitual ways of engaging with it and thus that our perception is active and creative, not passive and objective. Our understanding of the world is simultaneously shaped by and shaping our perceptions. Douglass saw that in a racist and bigoted society this means that change through facts and rational arguments will be hard. A distorted lens distorts - and accordingly re-produces and perceives its own distortion. His interest in aesthetics is intimately connected to this conundrum of knowledge and change, perception and action. To some extent precisely due to his understanding of how stereotypical categories and dominant relations work on our minds, he sees a radical transformational potential in certain art and imagery. We see in his work a profound understanding of the value-laden and action-oriented nature of perception and what we today call the perception of affordances (that is, what our environment permits/invites us to do). Douglass is particularly interested in the social environment and the social affordances of how we perceive other humans, and he thinks that photographs can impact on the human intellect in a transformative manner. In terms of the very process of aesthetic perception his views interestingly cohere and supplement a recent theory about the conditions and consequences of being an aesthetic beholder. The main idea being that artworks typically invite an asymmetric engagement where one can behold them without being the object of reciprocal attention. This might allow for a kind of vulnerability and openness that holds transformational potentials not typically available in more strategic and goal-directed modes of perception. As mentioned, Douglass main interest is in social change and specifically in combating racist social structures and negative stereotypes of black people. He is fascinated by the potential of photography in particular as a means of correcting fallacious stereotypes, as it allows a more direct and less distorted image of the individuality and multidimensionality of black people. We end with a discussion of how, given this interpretation of aesthetic perception, we can understand the specific imagery used by Douglass himself. How he tried to use aesthetic modes to subvert and change the racist habitus in the individual and collective mind of his society. We suggest that Frederick Douglass, the human rights activist, had a sophisticated philosophy of aesthetics, mind, epistemology and particularly of the transformative and political power of images. His works in many ways anticipate and sometimes go beyond later scholars in these and other fields such as psychology & critical theory. Overall, we propose that our world could benefit from revisiting Douglass’ art and thought. (shrink)

This paper seeks to establish the reflexive fundamentals about the importance of language in initiave-functional college education, with the general objective of finding and developing categories that allow synthesizing schemes of different approaches to language, in order to contribute to the teaching practice with discourse analysis -/- techniques, which favor processes that promote the pupils’operative intellectual habits. To present this, we will show some propositions that underlie didactic strategies we have used, to motivate, stimulate, and provoke participation from (...) the students in the teaching-learning process of the topics raised in the different subjects that integrate the Sciences of Communication course at the National Autonomous University of Mexico (UNAM). -/- Therefore, the aim of this exposition of causes is to define: 1) our experiential context so to make explicit the limitations and challenges we experiment with and face in this academic exercise to provoke the pupils’ amazement or at least keep their interest; and 2) the theoretical assumptions that underlie our investigation about the relationship between observed language (system) and lived language (act). (shrink)

It aimed to identify the strategic creativity in Islamic banks in Palestine between reality and implementation. The study adopted the descriptive analytical approach. A questionnaire was designed as a tool for the study. The study community consisted of all employees in Islamic banks from the top and middle management and the study has been applied to the Palestinian Islamic bank and the Arab Islamic Bank. The comprehensive inventory method was used, given the small size of the study sample, as questionnaires (...) were distributed to (175) employees, and a number of (5) categories were chosen from each branch of the bank(general manager, deputy general manager, director Branch, department head, department manager). (164) questionnaires have been used Recovered with a recovery rate of (93.71%). The study showed a number of results, the most important of which is the availability of dimensions of strategic innovation at a high level in Islamic banks in Palestine with a relative weight of (82.22%). In addition, that there are no differences between the averages estimates about the reality of the study variables in Islamic banks due to (gender, age group, educational qualification, number of years of service, job title). The study also presented a set of recommendations, including that the bank should provide the environment and the appropriate climate for employees to invest their intellectual energy, urge them to strategic creativity, and deal fairly with all creative ideas regardless of their source. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

Kant describes logic as “the science that exhaustively presents and strictly proves nothing but the formal rules of all thinking”. (Bviii-ix) But what is the source of our cognition of such rules (“logical cognition” for short)? He makes no concerted effort to address this question. It will nonetheless become clear that the question is a philosophically significant one for him, to which he can see three possible answers: those representations are innate, derived from experience, or originally acquired a priori. Although (...) he gives no explicit argument for the third answer, he seems committed to it—especially given his views on the source of pure concepts of the understanding and on the nature of logic. It takes careful preparatory work to gather all the essential materials for motivating and reconstructing Kant’s “original acquisition” account of logical cognition. I shall proceed in two sections. In section 1, I analyze Kant’s argument that pure concepts of the understanding (or intellectual concepts)—as one kind of pure cognition—must be acquired originally and a priori. My analysis partly concerns his varied attitudes toward Crusius’s and Leibniz’s versions of the nativist account of such concepts. I give special attention to how Kant characterizes the nativist account and his own “original acquisition” account in terms of “preformation” and “epigenesis”. My goal is, firstly, to tease out the sense in which Kant grants that there must be an innate ground (or preformation) for the derivation of pure concepts and, secondly, to introduce—and pave the way for answering—the question about the source of logical cognition. In section 2, in light of Kant’s reference to Locke and Leibniz as the greatest reformers of philosophy (including logic) in their times (Log, AA 9: 32), I examine the Lockean and Leibnizian approaches to logic, respectively. Both approaches are “physiological” by Kant’s standard and are directly opposed to his own strictly critical method. I explain how this methodological move shapes Kant’s view that representations of logical rules must be originally acquired a priori. This acquisition involves a kind of radical epigenesis of pure reason: unlike the acquisition of pure concepts, it presupposes no further innate ground (or preformation). This view will have important consequences for issues such as the ground of the normativity of logical rules and the boundaries of their rightful use. (shrink)

Petrus Nigri (Schwarz) se narodil západočeské Kadani (něm. Kaaden) kolem roku 1435 a spolu se svými třemi bratry vstoupil v Německu do dominikánského řádu. Během svého studia prošel velkou část Evropy (Německo, Itálii, Španělsko, Čechy a Maďarsko) a nakonec se stal rektorem generálního studia v Budíně (1481). Obecně je znám spíše jako význačný středověký hebraista. Do dějin filosofie se zapsal zvláště jako autor Clipeus thomsitarum (před r. 1474), což je filosofický komentář na Porfýriův Úvod (Isagoge) a na aristotelovské Kategorie, formou (...) otázek. Třebaže Nigriho práce není originální, představuje v zaalpských zemích významnou recepci pojetí pomyslného jsoucna (Clipeus, část I, ot. 3-4) tak, jak ho koncipoval Hervaeus Natalis († 1323) ve svém traktátu De secundis intentionisbus. -/- Petrus Nigri (Peter Schwarz, born in Kadaň/Kaaden before 1435, died in Buda 1483), is author of Clipeus thomistarum (printed 1481), a philosophical commentary on Porphyry's Introduction (Isagoge), and on Aristotle's Categories in the form of questions. While Nigri's discussion of the concept of being of reason (Clipeus thomistarum, part I, qq. 3-4) is not original, his work is important for contributing to this concept’s reception, and with it the teaching of Hervaeus Natalis (died 1323) in his treatise De secundis intentionibus, in the transalpine countries. Being of reason (ens rationis) is conceived as not a categorial being, nor is it an intellectual operation, nor is it caused, but is only identifiable by the human intellect. Nigri's being of reason has no subjective existence, but only an objective character, which differs both from categorial being and from mere nothingness. (shrink)

This volume takes cue from the idea that the thought of no philosopher can be understood without considering it as the result of a constant, lively dialogue with other thinkers, both in its internal evolution as well as in its reception, re-use, and assumption as a starting point in addressing past and present philosophical problems. In doing so, it focuses on a feature that is crucially emerging in the historiography of early modern philosophy and science, namely the complexity in the (...) production of knowledge. The book explores the applicability of this approach to a long-considered armchair philosopher, namely René Descartes, who is now more and more understood as a full-blown scientist, networker, and intellectual éminence grise rather than as the mere philosopher of the cogito, as well as the originator of different ‘Cartesianisms’ which encompassed many ideas and approaches for long captured by dichotomic historiographical categories as rationalism and empiricism, or speculative and experimental philosophy. The essays gathered in the volume aim to address the ways in which Descartes’s philosophy evolved and was progressively understood by scientists, philosophers, and intellectuals from different contexts and eras, either by considering direct interlocutors of Descartes such as Isaac Beeckman and Elisabeth of Bohemia, early modern thinkers who developed upon his ideas and on particular topics as Nicolas Malebranche or Thomas Willis, those who adapted his overall methodology in developing new systems of knowledge as Johannes Clauberg and Pierre-Sylvain Régis, and contemporary thinkers from continental and analytic traditions like Emanuele Severino and Peter Strawson. (shrink)

Reedition of papers in English spanning from 1986 to 2009 /// Historical background -- An imposed legacy -- Twentieth century contemporaneity -- Appendix: The philosophy of teaching legal philosophy in Hungary /// HISTORICAL BACKGROUND -- PHILOSOPHY OF LAW IN CENTRAL & EASTERN EUROPE: A SKETCH OF HISTORY [1999] 11–21 // PHILOSOPHISING ON LAW IN THE TURMOIL OF COMMUNIST TAKEOVER IN HUNGARY (TWO PORTRAITS, INTERWAR AND POSTWAR: JULIUS MOÓR & ISTVÁN LOSONCZY) [2001–2002] 23–39: Julius Moór 23 / István Losonczy 29 // (...) ON THE SURVIVAL OF ILMAR TAMMELO’S LETTER AND MANUSCRIPT ADDRESSED TO PROFESSOR MOÓR [2009] 41–44 // PROFESSIONAL DISTRESS AND SCARCITY: ALEXANDER HORVÁTH AND THE LEGACY OF NATURAL LAW IN HUNGARY [2005] 45–50 // HUNGARIAN LEGAL PHILOSOPHY IN THE 20TH CENTURY [2011] 51–72: I. The Pre-war Period [1. Bódog (Felix) Somló (1871–1920) 52] / II. The Inter-war Period [2. Gyula (Julius) Moór (1888–1950) 54 / 3. Barna Horváth (1896–1973) 55 / 4. József Szabó (1909–1992) 57 / 5. István Bibó (1911–1979) 58 / 6. Tibor Vas (1911–1983) 59 / 7. István Losonczy (1918–1980) 60] III. The Post-war Period (Communism) 61 [8. Imre Szabó (1912–1991) 62 / 9. Vilmos Peschka (1929–2006) 63 / 10. Kálmán Kulcsár (1928–2010) 65] IV. Contemporary Trends and Perspectives 66 [11. Csaba Varga (b. 1941) 66 / 12. András Sajó (b. 1949) 69 / 13. Béla Pokol (b. 1950) 70] V. Our Understanding of the Law Today 71 --- AN IMPOSED LEGACY -- LOOKING BACK [1999] 75–94: 1. On Ideologies and Marxism in general 75 / 2. Life of an Intellectual in Communism 79 / 3. On Marxism and its Socialist Cultivation in Particular 82 / 4. Legal Philosophising [4.1. Approaches to Law 87 / 4.2. Arriving at a Legal Ontology 91] 5. Conclusion 94 // LEGAL PHILOSOPHY OF THE MARXISM OF SOCIALISM: HUNGARIAN OVERVIEW IN AN INTERNATIONAL PERSPECTIVE [2003] 95–151: I. Development and Balance of Marxist Philosophising on Law in Hungary [1. Preliminaries (until 1948) 96 / 2. Stalinism (from the Soviet Occupation on) {a) Liquidation of the »Residues« 98 / b) Soviet-type Uniformisation [Gleichschaltung] 99 / c) Denial of the Past, with a Dual Effect 99 / d) »Socialist Legality«, Drawn from the Progressive Past of Western Europe 103 / e) Search for the Germs of Scholarly Evolution 103} 3. Institutionalisation Accompanied by Relaxation (from the 1960s) [a) Epigonism Becoming the Scholarly Ideal 104 / b) Stalinism in a Critical Self-perspective 105 / c) Disciples Diversified Launching their own Trends 107 / d) Comparatism 110 / e) (Re)discovery of the Western Legal Philosophy as a Competitor 112 / f) A Leading Mediatory Role within the »Socialist World Order« 114} 4. Disintegration (in the 1980s) {a) Attempt at Laying New Foundations for Marxism with Epigonism Exhausted 115 / b) Competitive Trends Becoming Exclusive 115 / c) Western Legal Philosophy Acknowledged as a Fellow-traveller within the Socialist Orbit Proper 116 / d) Hungarian Legal Theory Transforming into a National Corpus 118 / e) The Practical Promotion of Some Balance 119} 5. End-game for a Substitute State Religion (in the 1990s) 120] II. Marxist Legal Philosophising in an International Perspective [Ad 1: To the Preliminaries 122 / Ad 2: To Stalinism 124 / Ad 3: To Institutionalisation Accompanied by Relaxation {a) Late Separation from Vishinskiy’s Theory 125 / b) From Ideological Self-closure to an Apparently Scholarly Openness 127 / c) From Political Ideology to Genuine Scholarship 130 / d) International Recognition of Socialist Jurisprudence as an Independent Trend 135 / e) Together with Western Trends 137} Ad 4: To Disintegration {a) Loss of Attraction as Mere Epigonism 139 / b) Exclusivity of Competing Trends 139 / c) Fellowship with »Bourgeois« Trends 140 / d) An own Trend, Internationally Recognised 141 / e) A yet Progressive Role 142} Ad 5: To the Present state 143] III. A Temporary Balance 145 // AUTONOMY AND INSTRUMENTALITY OF LAW IN A SUPERSTRUCTURAL PERSPECTIVE [1986] 151–175: 1. The Strange Fate of Concepts 151 / I. A Relational Category 2. Basis and Superstructure: The Genuine Meaning 154 / 3. Exerting Social Influence as a Conceptual Minimum 156 / 4. Relationships within the Prevailing Totality 158 / 5. Attempts at Interpretation in Hungary 159 / 6. The Lukácsian Stand 162 / 7. Lukács’s Recognitions 168 / 8. Some Criticism 169 / II. The Law’s Understanding 171 / 9. Law Interpreted as Superstructure 171 / 10. Conclusions Drawn for the Law’s Understanding 173 // LEGAL THEORY IN TRANSITION (A PREFACE FROM HUNGARY) [2000] 177–186 // DEVELOPMENT OF THEORETICAL LEGAL THOUGHT IN HUNGARY AT THE TURN OF THE MILLENNIUM [2006] 187–215: 1. International Environment 188 / 2. The Situation in Hungary 190 / 3. Outlook I: The Historical-comparative Study of Legal Cultures and of the Lawyerly Way of Thinking 203 / 4. Outlook II: The Paradigmatic Enigma of the Transition to Rule of Law 207 / 5. Incongruity in Practice 213 / 6. Perspectives 214 --- TWENTIETH CENTURY CONTEMPORANEITY -- CHANGE OF PARADIGMS IN LEGAL RECONSTRUCTION: CARL SCHMITT AND THE TEMPTATION TO FINALLY REACH A SYNTHESIS [2002] 219–234: 1. Dangers of Intellectualism 219 / 2. Schmitt in Facts 221 / 3. Schmitt and Kelsen 222 / 4. On Bordering Conditions 226 / 5. With Kelsen in Transubstantiation 230 / 6. Polarisation as the Path of Theoretical Development 232 // KELSENIAN DOCUMENTS IN HUNGARY: CHAPTERS ON CONTACTS, INCLUDING THE GENESIS OF AUTOBIOGRAPHY [2006] 235–243: 1. Preludes 235 / 2. The Search for Moór’s Bequeath 235 / 3. Moór’s Collegiality 238 / 4. Bibó as a Disciple Translating 241 // THE »HART-PHENOMENON« [2002] 245–267: I. The Hart-miracle 246 [1. The Scene of Britain at the Time 247 / 2. The Personal Career 250 / 3. The Opus’ Career 252 / 4. Verbal Sociologism 255 / 5. Growing into the British Pattern 259] II. The Hart-phenomenon 260 [6. Origination of a Strange Orthodoxy 261 / 7. Mastering Periods of the 20th Century 263 / 8. Raising the Issue of Reception in Hungary 365] // LITERATURE? A SUBSTITUTE FOR LEGAL PHILOSOPHY? [2007] 269–287: 1. The Enigma of Law and its Study 269 / 2. “Law and Literature” 271 / 3. Varieties of “Law and Literature” 274 / 4. The German Study of Artistic Representations 280 / 5. Some Literary Reconsiderations 285 / 6. Conclusion 287 --- APPENDIX -- THE PHILOSOPHY OF TEACHING LEGAL PHILOSOPHY IN HUNGARY [2007] 291–320: I. Why and How to Philosophise in Law? 291 / II. The State of Teaching Legal Philosophy 294 / III. The Philosophy of Teaching Legal Philosophy 296 / IV. Programme at the Catholic University of Hungary 300 [1. Graduate Studies 300 {a) Basic Subjects 301 / b) Facultative Seminars 305 / c) Closing Subjects 309 / d) Written Memoranda and the Thesis 312} 2. Postgraduate Studies 313 / 3. Conclusion 317] V. Perspectives 318 /// Index of Subjects 321 / Index of Normative Materials 328 / Index of Names 329 . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 219-220 [Access article in PDF] Jack Zupko. John Buridan: Portrait of a Fourteenth-Century Arts Master. Notre Dame: University of Notre Dame Press, 2003. Pp. xix + 446. Cloth, $70.00. Paper, $40.00. What does the name "John Buridan" call to mind? For many, including medievalists, not much at all—at best, perhaps, a set of apparently unrelated ideas: nominalism; an impetus theory of (...) projectile motion; and a peculiar account of the will (although "Buridan's ass," the indecisive donkey caught between two equally appetizing bales of hay, is not found in Buridan's writing). In correcting this ignorance—an injustice to arguably the most famous and influential philosopher of the early-to-mid-fourteenth century—the temptation might have been to articulate Buridan's "positions" on "the big questions," allowing readers to fit Buridan into received categories. Thankfully, the present work, the first book-length study of Buridan in any language, resists this temptation. The John Buridan that emerges from Jack Zupko's skillful "exercise in philosophical portraiture" doesn't serve to simply fill gaps in our awareness of the historical record, but to enlighten and challenge our understanding of the practice of philosophy and the study of its history.Zupko emphasizes throughout that Buridan was a teacher, a master of arts in Paris. Buridan's pedagogical concerns help make sense of his central work in logic. As the basis for his arts lectures, Buridan chose Peter of Spain's Summulae Logicales, but in commenting on Peter, Buridan moves beyond creative exegisis to comprehensive renovation. Buridan (c. 1300-c. 1361) naturally wanted to accommodate terminist or via moderna supposition theory; but more importantly, he wanted a logic text that would set out a general plan of philosophical inquiry, "a compendium of methods, a 'how-to' book for the philosopher" (135). Buridan thus designed his own Summulae de Dialectica as a new authoritative logic text, and Zupko persuasively argues that its "nominalism" should be understood as less a set of doctrines in theoretical logic, than a program of logical practice, an education in logic as the ars artium, the universal intellectual tool.Zupko's portrait of "Buridan's vision of the philosophical enterprise" is thus appropriately divided into two parts. The first summarizes Buridan's method as described in the individual treatises of his Summulae. The second displays the method in practice, rehearsing and evaluating some of Buridan's arguments on various subjects. Many scholars will gravitate first to the latter part, where Zupko offers important interpretations and clarifications of Buridan's views. In these chapters, Zupko helps us to appreciate, among other things: how the problem of universals served to help Buridan define the scope of philosophy (ch. 10); the philosophical modesty of Buridan's account of the intellectual soul's presence in the body (ch. 11); the relationship between Buridan's epistemology and the skepticism of his Parisian contemporary Nicholas of Autrecourt (ch. 12); the sense in which Buridan is an "empiricist," viz an epistemic naturalist and reliabilist (ch. 13); how Buridan regarded moral psychology as applied physics, treating virtue as a kind of impetus (ch. 14); how Buridan's account of freedom can be regarded as a "perfection" of Thomistic intellectualism (ch. 15).Throughout these discussions, Zupko always keeps in sight his larger purpose of illustrating Buridan's conception of philosophical inquiry. Zupko makes much of the fact that [End Page 219] Buridan never wrote as a theologian, remaining his entire career in the arts faculty, where he wanted logic to organize secular inquiry. As Zupko notes, in this way Buridan's scholastic project seems to prefigure the "modern." But Buridan seems modern in another way as well. As Zupko points out in his "Introduction," though a cleric, Buridan never joined a religious order, so that his ideas developed independently of the Franciscan and Dominican traditions. He was, then, a teacher without a tradition—at least without deliberate allegiance to tradition, although he was in many ways the product of traditional scholastic intellectual discipline.Perhaps this... (shrink)

Global capitalism is the politico-economic structure that subjects everything to its interests. It creates unimaginable poverty, ecological crisis, the ongoing pandemic, wars without end, and other horrors that humans can inflict against each other. Within this capitalist configuration, an idea and a political movement emerged that seeks to destroy the foundation of this system. Communism is this idea and political movement. The foundation of capitalism that they wanted to dismantle is private bourgeois property. In general, the Bolshevik revolution did destroy (...) that foundation, but this was not enough. It only resulted in the eventual transformation of the party as the collectivized bourgeoisie with its authoritarian state apparatus. It transformed this bourgeois-liberal capitalism into state-run capitalism. The revolutionary class that was supposed to be emancipated, remained as they were in capitalism, producer of the means of subsistence and surplus value. The eventual dissolution of the Soviet Union did not mean that the idea of communism is already dead. It should have been the perfect time to reassess the theoretical foundations of communism and test the ideas of Marx and others in their practical-idealistic form. The production and reproduction of capitalist social relations create everyday consciousness for all capitalist subjects, even to passionate communist revolutionaries. This is how ideology works. But the continuing havoc of global capitalism continues. The Left goes on with their same old traditions. They do not see that precisely ii their unceasing failure is one of the conditions for capitalism and its state apparatus to have the capacity to reinvent itself. In Pandemic 2: Chronicles of a Time Lost, Slovenian-born philosopher and global thinker Slavoj Zizek said that capitalism is incapable of solving the Covid-19 crisis. In his more than a thousand-page book paradoxically called Less Than Nothing, he said that ‘really existing’ socialism failed because it was ultimately a subspecies of capitalism. Can we utilize this Zizekian idea of communism, an idea that generates criticism both to capitalism and 20th-century communism to reinvent communism for it to revitalize its struggle against global capitalism? To answer this question, I employed Critical Theory through the ideas of communism of Zizek. I started with capitalism’s totality. It manifests itself in the world of commodities. Commodities are everywhere and almost in everything. Commodification not only involves things that man uses but humanity herself is commodified. Then I elaborated on the notion of the proletariat because she is the “commodified man” personified. The identification of the proletariat almost exclusively with factory workers is the prevailing idea in the Left movement. I tried to show that the proletariat is the overwhelming majority in every industry. Capitalism, I claim is both producing employment and unemployment. And the unemployed, not only are included as members of the proletarian class, but looking at it objectively, they may play a significant role in the political struggle of the proletariat against the bourgeoisie. Therefore, as I tried to describe in quite a detailed fashion the various industries of capitalism and the sub-groups of the unemployed, it becomes evident that even without mentioning it, the proletariat is the class that almost everyone belongs to, except, as might be expected, the bourgeoisie. -/- Then I mustered the audacity to question Marx and Engels’ Communist Manifesto. I also tried to imagine what will happen to the economic categories in Marx’s Capital in communism. My objective was to identify what is lacking in Marx that may explain the Left’s unending failure. I think I succeeded, although in a very superficial manner, in trying to locate what was missing in Marx’s theory. It was not enough to transform the bourgeois property into public property, but this transformation must stop commodity production itself. Commodity production is this self-perpetuating character of capitalist production. Then it led to further elucidation of the metamorphosis of commodity production to the production of human needs. Another idea is the double negation of the communist revolution. Communism must not only negate the bourgeois class but the proletariat herself. Marx only emphasized the dissolution of the bourgeoisie but failed to relate this dissolution to the proletariat’s self-negation. Absolutely, the significant reduction of working hours is fundamental for communism. This reduction must result from the conscious expansion of the workers' free time. Expanding free time is at the same time reducing time for production. Essentially, this is the process of the self-negation of the proletariat. I also tried to put forward an idea that directly links reform and revolution. They are directly linked with each other because both are communistic. A communist campaign for higher wages is directly involved with the communist expansion of political power. Communist reform becomes revolutionary. Concomitantly, the notion of revolution also changes. The communist revolution, instead of it being a sudden, external, and most often violent event, becomes an internal transformative process and possibly less violent. I concluded by transforming the concepts I think Marx missed into political possibilities. That is why I expounded on the immediate aims Marx and Engels enumerated in the Communist Manifesto and tried to claim the probability of the impossible in the communist struggle for political power and Man’s eventual freedom. -/- Marx's description of factory work creates no illusion about the status of freedom in capitalism. In Capital, he said that “factory work... confiscates every atom of freedom, both bodily and in intellectual activity.” And I think Marx made clear that the only way to freedom is ultimately to destroy capitalism. These words of his in Capital will cast no doubt, “the knell of capitalist private property sounds. The expropriators are expropriated.” And to signify who are those experiencing this unfreedom, Marx and Engels summon the subject of the revolution in their famous lines in the Communist Manifesto and urge them to fight, “the proletarians have nothing to lose but their chains. They have a world to win.” Today is the time for philosophy because it is the age of declining freedom. But the prevailing capitalist structure is necessitating this unfreedom. And for philosophy to become what it is, communism should become philosophy. (shrink)

Communist discourses are resurging in various disciplines across the globe. Philosophy has its share of this resurgence especially after the global financial crisis of 2008 made a number of its thinkers convene in various conferences and intellectually meet in a host of publications. In these intellectual engagements, the idea of communism is once again interrogated as the moribund capitalist system failed humanity its promise. Alain Badiou is among the leading figures in the philosophical task of (re)interrogating the idea of (...) communism. Badiou raised the urgency of reformulating what he calls as the communist hypothesis for it to both reconsider its supposed failures of the past and better suit the current conditions. Badiou is particularly guided by the lessons of the May ’68 of France, the Great Proletarian Cultural Revolution of China, and various contemporary popular uprisings to develop a reformulation of the communist hypothesis. In advancing a laborious task of reformulation, Badiou inevitably rejected a core category of the Marxist-Leninist tradition: the party. The rejection is supported by a view of the party that reduced it to its supposed fusion with the State, i.e., the party-State fusion. Such a fusion is characterized by either parliamentarian or insurrectionary politics. In this politics, Badiou argues that the party is obstructed from advancing further the proletarian revolution as it is tied to a Statist procedure. This work develops a Maoist reformulation of the communist hypothesis. Along the course of the socialist constructions of Russia and China, certain moments of what can be called as indigenized and mobilizational politics characterized periods that escape what Badiou reduced the party into, i.e., the party-State fusion. The Maoist notions of the mass line and protractedness come out as indispensable requisites in developing the concepts of indigenized and mobilizational politics. These moments depicted what can be called as the party-masses fusion and provided practical resources not only for the rectification of the supposed failures of the past but also for a reformulation of the communist hypothesis. Through the development and employment of the category of the party-masses fusion and the politics that determine it, the reformulation of the communist hypothesis is supported by a discourse of success rather than of defeat. (shrink)

This paper investigates a problem about freedom of information. Although freedom of information is generally considered desirable, there are a number of areas where there is substantial agreement that freedom of information should be limited. After a certain ordering of the landscape, I argue that we need to add the category of "dangerous" information and that this category has gained a new quality in the context of current information technology, specifically the Internet. This category includes information the use of which (...) would be morally wrong as well as some of what may be called "corrupting" information. Some such information should not be spread at all and some should be very limited in its spread. (shrink)

The difficulties that Troeltsch faced in his intellectual endeavors derive from the ultimate dualism characterizing, in his perspective, the existence of man: namely a dualism between the historicity of his existence and the need of an ultimate meaning – and of the unity of such a meaning with life itself. According to Troeltsch, dualism is articulated on different levels, for the reason that the historical dimension of man is composed by different and often contrasting elements. Man, indeed, must satisfy (...) immediate needs, deriving from his animal nature, but also organize himself in the economic, political and ethical spheres, ‘before’ entering the strictly religious one. The process of spiritualization of the natural dimension crosses all these areas: as a result, such a dimension is purified and oriented towards the unity of the ‘ultimate things’: a goal which is unattainable, as long as the natural dimension is ultimately historical. The Troeltschian category of compromise (Kompromiss) has not always been appreciated and perhaps has not always been properly understood. This attitude is well exemplified by the judgment of Benedetto Croce, for whom compromise hides and at the same time distorts dialectic. In recent decades, however, a more charitable approach has emerged: it has been recognized that, in Troeltsch’s perspective, compromise is not the expression of a resigned Irenism, but the historical realization of ideal aspirations. Such a realization that will always be imperfect because as it is conditioned by circumstances: in the human being the constitutive inclination to the ‘ultimate things’ will coexist with an equally intrinsic finiteness. (shrink)

D'Arcy May, in his review, contends Magliola argues that the Buddhist doctrines of no-self and rebirth are contradictory, whereas Magliola in fact argues just the opposite--that these two Buddhist doctrines are not contradictory (and he explains why). What Magliola does contend is that Buddhist no-self and rebirth contradict the Catholic teachings of individual identity and "one life-span only." D'Arcy May's review contends that Magliola admits "authoritative statements" are "hard to come by" in Buddhism, whereas Magliola in his book contends that (...) "authoritative statements" play a very important role in Buddhism: his book explains how "authority" functions in Buddhism, and he directs readers to the careful "vetting" of his book--including his discussions of "authority in Buddhism"-- by Ven. Bhikkhu Bodhi (for Theravada) and Ven. Dr. Dhammadipa [Fa Yao] (for both Theravada and the two "Big Vehicles"). His book also cites approvals by several established academics who are Buddhologists. Magliola's "Reply" goes on to argue that D'Arcy May's interpretation of the "sensus fidelium" foists the opinions of "white intellectual elites and higher-income Catholics of the North Atlantic tier of countries and their geographical projections--Australia, etc. (only 9 percent of the world's Catholic population) upon the 68 percent of Catholics who live in the global South and East. Magliola's "Reply" also expresses his dismay that D'Arcy May, throughoout his review, dodges the pivotal Derridean notion of "samenesses erected by irreducible difference" though this "thought-motif" constitutes the scaffolding of Magliola's entire book. (shrink)